1081:'s essay "Freak Show", she writes, "The authority of Arbus's photographs comes from the contrast between their lacerating subject matter and their calm, matteroffact attentiveness. This quality of attentionâthe attention paid by the photographer, the attention paid by the subject to the act of being photographedâcreates the moral theater of Arbus's straight on, contemplative portraits. Far from spying on freaks and pariahs, catching them unawares, the photographer has gotten to know them, reassured themâso that they pose for her as calmly and stiffly as any Victorian notable sat for a studio portrait by Nadar or Julia Margaret Cameron. A large part of the mystery of Arbus's photographs lies in what they suggest about how her subjects felt after consenting to be photographed. Do they see themselves, the viewer wonders, like that? Do they know how grotesque they are? It seems as if they don't."
1041:, Marion Magid stated, "Because of its emphasis on the hidden and the eccentric, this exhibit has, first of all, the perpetual, if criminal, allure of a sideshow. One begins by simply craving to look at the forbidden things one has been told all one's life not to stare at... One does not look at such subjects with impunity, as anyone knows who has ever stared at the sleeping face of a familiar person, and discovered its strangeness. Once having looked and not looked away, we are implicated. When we have met the gaze of a midget or a female impersonator, a transaction takes place between the photograph and the viewer; in a kind of healing process, we are cured of our criminal urgency by having dared to look. The picture forgives us, as it were, for looking. In the end, the great humanity of Diane Arbus' art is to sanctify that privacy which she seems at first to have violated."
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for its shallowness". Sontag has also stated that "the subjects of Arbus's photographs are all members of the same family, inhabitants of a single village. Only, as it happens, the idiot village is
America. Instead of showing identity between things which are different (Whitman's democratic vista), everybody is the same." A 2009 article noted that Arbus had photographed Sontag and her son in 1965, causing one to "wonder if Sontag felt this was an unfair portrait". Philip Charrier argues in a 2012 article that despite its narrowness and widely discussed faults, Sontag's critique continues to inform much of the scholarship and criticism of Arbus's oeuvre. The article proposes overcoming this tradition by asking new questions, and by shifting the focus away from matters of biography, ethics, and Arbus's suicide.
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The editors of an academic journal published a two-page complaint in 1993 about the estate's control over Arbus' images and its attempt to censor characterizations of subjects and the photographer's motives in article about Arbus. A 2005 article called the estate's allowing the
British press to reproduce only fifteen photographs an attempt to "control criticism and debate". On the other hand, it is common institutional practice in the U.S. to include only a handful of images for media use in an exhibition press kit. The estate was also criticized in 2008 for minimizing Arbus' early commercial work, although those photographs were taken by Allan Arbus and credited to the Diane and Allan Arbus Studio.
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obstructing one's face. Critics have speculated that the choices in her subjects reflected her own identity issues, for she said that the only thing she suffered from as a child was never having felt adversity. This evolved into a longing for things that money couldn't buy such as experiences in the underground social world. She is often praised for her sympathy for these subjects, a quality which is not immediately understood through the images themselves, but through her writing and the testimonies of the men and women she portrayed. A few years later, in 1958 she began making lists of who and what she was interested in photographing. She began photographing on assignment for magazines such as
1205:, reviewing a show of Arbus's lesser-known works in 2005, wrote, "Arbus's perfectly composed, usually centered images have a way of arousing an almost painfully urgent curiosity. Who is the boy in the suit and tie and fedora who looks up from the magazine in a neighborhood store and fixes us with a gaze of unfathomable seriousness? What is the story with the funny, birdlike lady with the odd, floppy knit hat perched on her head? What is the bulky dark man in the suit and hat saying to the thin, well-dressed older woman with the pinched, masklike face as he jabs the air with a finger while they walk in Central Park? Arbus was a wonderful formalist and just as wonderful a storytellerâthe
1313:, Arbus calls attention to vibrant expressions of joy while never letting us forget life's eternal anguish. Some critics have suggested that Arbus sees herself in her subjects. But perhaps that's only partially true. It's probably a more factual assertion to claim that Arbus sees all of us in her subjects....Arbus's only delusion was believing, or hoping, that others would share her peculiar fixations. But to say that her work is merely about human imperfection is both accurate and laughably dismissive. Arbus surely was focused on human imperfection, but within imperfection, she found unvarnished, perfect humanity. And humanity, to Arbus, was beautiful."
772:. New Documents, which drew almost 250,000 visitors demonstrated Arbus's interest in what Szarkowski referred to as society's "frailties" and presented what he described as "a new generation of documentary photographers...whose aim has been not to reform life but to know it", described elsewhere as "photography that emphasized the pathos and conflicts of modern life presented without editorializing or sentimentalizing but with a critical, observant eye". The show was polarizing, receiving both praise and criticism, with some identifying Arbus as a disinterested voyeur and others praising her for her evident empathy with her subjects.
804:. In 1968, Arbus wrote a letter to a friend, Carlotta Marshall, that says: "I go up and down a lot. Maybe I've always been like that. Partly what happens though is I get filled with energy and joy and I begin lots of things or think about what I want to do and get all breathless with excitement and then quite suddenly either through tiredness or a disappointment or something more mysterious the energy vanishes, leaving me harassed, swamped, distraught, frightened by the very things I thought I was so eager for! I'm sure this is quite classic." Her ex-husband once noted that she had "violent changes of mood".
1703:â A woman and a man sunbathe while a boy bends over a small plastic wading pool behind them. In 1972, Neil Selkirk was put in charge of producing an exhibition print of this image when Marvin Israel advised him to make the background trees appear "like a theatrical backdrop that might at any moment roll forward across the lawn.". This anecdote illustrates vividly just how fundamental dialectics between appearance and substance are for the understanding of Arbus's art. A print was sold at auction in 2008 for $ 553,000.
976:. Accompanied by a book of the same name, the exhibition included artifacts such as correspondence, books, and cameras as well as 180 photographs by Arbus. By "making substantial public excerpts from Arbus's letters, diaries and notebooks" the exhibition and book "undertook to claim the center-ground on the basic facts relating to the artist's life and death". Because Arbus's estate approved the exhibition and book, the chronology in the book is "effectively the first authorized biography of the photographer".
1300:...In the almost half century that has elapsed since Arbus made the 'Untitled' pictures, photographers have increasingly adopted a practice of constructing the scenes they shoot and altering the pictures with digital technology in an effort to bring to light the visions in their heads. The 'Untitled' series, one of the towering achievements of American art, reminds us that nothing can surpass the strange beauty of reality if a photographer knows where to look. And how to look."
275:, children, mothers, couples, elderly people, and middle-class families. She photographed her subjects in familiar settings: their homes, on the street, in the workplace, in the park. "She is noted for expanding notions of acceptable subject matter and violates canons of the appropriate distance between photographer and subject. By befriending, not objectifying her subjects, she was able to capture in her work a rare psychological intensity." In his 2003
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desire not to be herself, she tried on the skins of others and took us along for the trip. Arbus was obsessed with people who manifested trauma, maybe because her own crisis was so internalized. She was able to look full in the faces we normally avert our eyes from, and to show beauty there as well as pain. Her work is often difficult but it isn't cruel. She undertook that greatest act of courageâto face the terror of darkness and remain articulate."
860:. He is described by film historian Nick Chen as "Kubrick's right-hand man from the mid-70s onwards". Chen goes on to reveal, "Not only did Vitali videotape and interview 5,000 kids to find Jack Nicholson's son, Danny, he was also responsible for discovering the creepy twin sisters on the final day of auditions. The pair, in fact, weren't twins in Kubrick's script, and it was Vitali who immediately suggested Diane Arbus' infamous photo of
1756:, the "Jewish Giant", stands in his family's apartment with his much shorter mother and father. Arbus reportedly said to a friend about this picture: "You know how every mother has nightmares when she's pregnant that her baby will be born a monster?... I think I got that in the mother's face...." The photograph motivated Carmel's cousin to narrate a 1999 audio documentary about him. A print was sold at auction for $ 583,500 in 2017.
562:, which began in 1956, that encouraged Arbus to focus exclusively on her own work. That year Arbus quit the commercial photography business and began numbering her negatives. (Her last known negative was labeled #7459.) Based on Model's advice, Arbus avoided loading film in the camera as an exercise in truly seeing. Arbus also credits Model with making it clear to her that "the more specific you are, the more general it'll be."
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disintegrates....You may feel, crazily, that you have never really seen a photograph before. Nor is this impression of novelty evanescent. Over the years, Arbuses that I once found devastating have seemed to wait for me to change just a little, then to devastate me all over again. No other photographer has been more controversial. Her greatness, a fact of experience, remains imperfectly understood."
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1679:â With an American flag at his side, he wears a bow tie, a pin in the shape of a bow tie with an American flag motif, and two round button badges: "Bomb Hanoi" and "God Bless America / Support Our Boys in Viet Nam". The image may cause the viewer to feel both different from the boy and sympathetic toward him. An art consulting firm purchased a print for $ 245,000 at a 2016 auction.
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856:, was released to cinemas worldwide in 1980 and became hugely successful, millions of moviegoers experienced Diane Arbus' legacy without realizing it. The movie's recurring characters of identical twin girls who are wearing identical dresses appear on-screen as a result of a suggestion Kubrick received from crew member
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The Museum of Modern Art held a retrospective curated by John
Szarkowski of Arbus's work in late 1972 that subsequently traveled around the United States and Canada through 1975; it was estimated that over seven million people saw the exhibition. A different retrospective curated by Marvin Israel and
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Arbus's parents were not deeply involved in raising their children, who were overseen by maids and governesses. Her mother had a busy social life and underwent a period of clinical depression for approximately a year, then recovered, and her father was busy with work. Diane separated herself from her
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wrote in 2005, "No photographer makes viewers feel more strongly that they are being directly addressed....When her work is at its most august, Arbus sees through her subject's pretensions, her subject sees that she sees, and an intricate parley occurs around what the subject wants to show and wants
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wrote, "What these photographers have in common is a complete loss of faith in the mass media as vehicle, or even market for their work. Newsiness, from the journalistic point of view, and 'stories', from the literary one, in any event, do not interest them....Arbus' refusal to be compassionate, her
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In spite of being widely published and achieving some artistic recognition, Arbus struggled to support herself through her work. "During her lifetime, there was no market for collecting photographs as works of art, and her prints usually sold for $ 100 or less." It is evident from her correspondence
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By 1956 she worked with a 35mm Nikon, wandering the streets of New York City and meeting her subjects largely, though not always, by chance. The idea of personal identity as socially constructed is one that Arbus came back to, whether it be performers, women and men wearing makeup, or a literal mask
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series states, "These rarely seen photographs are some of the most hauntingly compassionate images made with a camera....The range of expressions Arbus has captured is remarkable in its startling shifts from carefree glee to utter trepidation, ecstatic self-abandonment to shy withdrawal, and simple
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as "America, Seen
Through Photographs, Darkly". Among other criticisms, Sontag opposed the lack of beauty in Arbus' work and its failure to make the viewer feel compassionate about Arbus's subjects. Sontag's essay itself has been criticized as "an exercise in aesthetic insensibility" and "exemplary
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Arbus's style is described as "direct and unadorned, a frontal portrait centered in a square format. Her pioneering use of flash in daylight isolated the subjects from the background, which contributed to the photos' surreal quality." Her methods included establishing a strong personal relationship
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camera which produced more detailed square images. She explained this transition saying "In the beginning of photographing I used to make very grainy things. I'd be fascinated by what the grain did because it would make a kind of tapestry of all these little dots ... But when I'd been working for a
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In 1946, after the war, the
Arbuses began a commercial photography business called "Diane & Allan Arbus", with Diane as art director and Allan as the photographer. She would come up with the concepts for their shoots and then take care of the models. She grew dissatisfied with this role, a role
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that would last until her death. All the while, he remained married to
Margaret Ponce Israel, an accomplished mixed-media artist. Marvin Israel both spurred Arbus creatively and championed her work, encouraging her to create her first portfolio. Among other photographers and artists she befriended,
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The father of the twins pictured in "Identical Twins, Roselle, N.J. 1967" said, "We thought it was the worst likeness of the twins we'd ever seen. I mean it resembles them, but we've always been baffled that she made them look ghostly. None of the other pictures we have of them looks anything like
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stated, "She turned picture-making inside out. She didn't gaze at her subjects; she induced them to gaze at her. Selected for their powers of strangeness and confidence, they burst through the camera lens with a presence so intense that whatever attitude she or you or anyone might take toward them
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stated that Arbus was "one of those figuresâas rare in the annals of photography as in the history of any other mediumâwho suddenly, by a daring leap into a territory formerly regarded as forbidden, altered the terms of the art she practiced....she completely wins us over, not only to her pictures
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of Arbus published in 1984. Bosworth reportedly "received no help from Arbus's daughters, or from their father, or from two of her closest and most prescient friends, Avedon and ... Marvin Israel". The book was also criticized for insufficiently considering Arbus's own words, for speculating about
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Since Arbus died without a will, the responsibility for overseeing her work fell to her daughter, Doon. She forbade examination of Arbus' correspondence and often denied permission for exhibition or reproduction of Arbus' photographs without prior vetting, to the ire of many critics and scholars.
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said, "She was able to let things be, as they are, rather than seeking to transform them. The quality that defines her work, and separates it from almost all other photography, is her ability to empathize, on a level far beyond language. Arbus could travel, in the mythic sense. Perhaps out of the
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The first major retrospective of Arbus' work was held in 1972 at MoMA, organized by
Szarkowski. The retrospective garnered the highest attendance of any exhibition in MoMA's history to date. Millions viewed traveling exhibitions of her work from 1972 to 1979. The book accompanying the exhibition,
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Arbus and her husband separated in 1959, although they maintained a close friendship. The couple also continued to share a darkroom, where Allan's studio assistants processed her negatives, and she printed her work. The couple divorced in 1969 when he moved to
California to pursue acting. He was
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writes, "Even as we grow more restive with conventional religion, with the intolerance and even brutality it so frequently exacts in trade for meaning and consolation, Arbus's work can seem like the bible of a faith to which one can almost imagine subscribingâthe temple of the individual and
788:, an art director who both employed and befriended Arbus. After Feitler's death, Baltimore collector G. H. Dalsheimer bought her portfolio from Sotheby's in 1982 for $ 42,900. The SAAM then bought it from Dalsheimer in 1986. The portfolio was put away in the museum's collection, until 2018.
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1673:â A close-up shows the man's pock-marked face with plucked eyebrows, and his hand with long fingernails holds a cigarette. Early reactions to the photograph were strong; for example, someone spat on it in 1967 at the Museum of Modern Art. A print was sold for $ 198,400 at a 2004 auction.
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states, "It's not so much that Arbus changed how we see the world as how we allow ourselves to see it. Underbelly and id are no less part of society for being less visible. Outcasts and outsiders become their own norm â and with Arbus as ambassador, ours, too. She witnesses without ever
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The
Metropolitan Museum of Art purchased twenty of Arbus' photographs (valued at millions of dollars) and received Arbus' archives, which included hundreds of early and unique photographs, and negatives and contact prints of 7,500 rolls of film, as a gift from her estate in 2007.
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states, "She was fascinated by people who were visibly creating their own identitiesâcross-dressers, nudists, sideshow performers, tattooed men, the nouveaux riches, the movie-star fansâand by those who were trapped in a uniform that no longer provided any security or comfort."
784:. The SAAM is the only museum currently displaying the work. The collection is "one of just four complete editions that Arbus printed and annotated. The three other editionsâthe artist never executed her plan to make 50âare held privately". The Smithsonian edition was made for
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441:, who would become a photographer, was born in 1954. Arbus and her husband worked together in commercial photography from 1946 to 1956, but Allan remained very supportive of her work even after she left the business and began an independent relationship to photography.
1687:â Young twin sisters Cathleen and Colleen Wade stand side by side in dark dresses. The uniformity of their clothing and haircut characterize them as being twins while the facial expressions strongly accentuate their individuality. This photograph is echoed in
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and cutting her wrists with a razor. She wrote the words "Last Supper" in her diary and placed her appointment book on the stairs leading up to the bathroom. Marvin Israel found her body in the bathtub two days later; she was 48 years old. Photographer
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Late in her career, the
Metropolitan Museum of Art indicated to her that they would buy three of her photographs for $ 75 each, but citing a lack of funds, purchased only two. As she wrote to Allan Arbus, "So I guess being poor is no disgrace."
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and Doon Arbus including text by Diane Arbus; afterword by Doon Arbus; and biographies of fifty five of Arbus's friends and colleagues by Jeff L. Rosenheim. Accompanied an exhibition that premiĂšred at San Francisco Museum of Modern
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published a belated obituary of Arbus as part of the Overlooked history project. The Smithsonian American Art Museum housed an exclusive exhibit from April 6, 2018, to January 27, 2019, that featured one of Arbus' portfolios,
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and a photography skeptic, admitted, "With Diane Arbus, one could find oneself interested in photography or not, but one could no longer . . . deny its status as art." She was the first photographer to be featured in
726:. Arbus returned to several facilities repeatedly for Halloween parties, picnics, and dances. In a letter to Allan Arbus dated November 28, 1969, she described these photographs as "lyric and tender and pretty".
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wrote in 2005, "If the proper word isn't spirituality then it's grace. Arbus touches her favorite subjects with grace. It's in the spread-arm pose of the sword swallower, in the tattooed human pincushion, like
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while with all these dots, I suddenly wanted terribly to get through there. I wanted to see the real differences between things ... I began to get terribly hyped on clarity." In 1964, Arbus began using a 2-1/4
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he also said, "She's finding little pockets of jubilation that are framed within each photograph. The obvious meaning of the photograph is abjection, but the obtuse meaning is jubilation, beauty, staunchness,
843:. She has been called "a seminal figure in modern-day photography and an influence on three generations of photographers" and is widely considered to be among the most influential artists of the last century.
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irreducible human soul, the church of obsessive fascination and compassion for those fellow mortals whom, on the basis of mere surface impressions, we thoughtlessly misidentify as the wretched of the earth."
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magazine). In 1969 a rich and prominent actor and theater owner, Konrad Matthaei, and his wife, Gay, commissioned Arbus to photograph a family Christmas gathering. During her career, Arbus photographed
1329:, who was the subject of an Arbus photograph in 1971, criticized it as an "undeniably bad picture" and Arbus's work in general as unoriginal and focusing on "mere human imperfection and self-delusion."
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and "Leider's admission of Arbus into this critical bastion of late modernism was instrumental in shifting the perception of photography and ushering its acceptance into the realm of 'serious' art."
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box/frame that was designed by Marvin Israel and was to have been issued in a limited edition of 50. However, Arbus completed only eight boxes and sold only four (two to Richard Avedon, one to
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references "...the famously controlling Arbus estate who, as Schultz put it recently, 'seem to have this idea, which I disagree with, that any attempt to interpret the art diminishes the art.
1237:, she writes, "When I look at her pictures, I see not a gift for capturing whatever life is there, but a desire to confirm her suspicions about humanity's dullness, stupidity, and ugliness."
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and accompanying the Museum of Modern Art's exhibition. It contained eighty of Arbus' photographs, as well as texts from classes that she gave in 1971, some of her writings, and interviews,
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2071:, Edinburgh, Scotland; Scottish National Gallery of Modern Art, Edinburgh; Nottingham Contemporary; Aberdeen Art Gallery; Tate Modern, London; Kirkcaldy Galleries; The Burton at Bideford.
294:, that her work "transformed the art of photography (Arbus is everywhere, for better and worse, in the work of artists today who make photographs)". Arbus's imagery helped to normalize
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demonstrates that Arbus made an editorial choice in selecting which image to print. A print of this photograph was sold in 2015 at auction for $ 785,000, an auction record for Arbus.
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boredom to neighborly love. Perhaps the most intriguing aspect of her photographs is the way they combine sentiments we all share with experiences we can imagine but never know."
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magazine review of the 1972 Diane Arbus retrospective at MoMA wrote, "Arbus did what hardly seemed possible for a still photographer. She altered our experience of the face."
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said, in 1971, "Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child." Mailer was reportedly displeased with the well-known "spread-legged"
463:; he was approximately the same age, his family had also run a Fifth Avenue department store, and many of his photographs were also characterized by detailed frontal poses.
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while growing up in the 1930s. Her father became a painter after retiring from Russeks. Her younger sister became a sculptor and designer, and her older brother, the poet
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1667:â Richard and Marylin Dauria, who lived in the Bronx. Marylin holds their baby daughter, and Richard holds the hand of their young son, who is intellectually disabled.
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1930:. American Center, Paris; La Fundacion "la Caixa", Barcelona, Spain; La Fundacion "la Caixa", Madrid; Robert Klein Gallery, Boston, MA; Light Factory, Charlotte, NC.
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Throughout the 1960s, Arbus supported herself largely by taking magazine assignments and commissions. For example, in 1968 she shot documentary photographs of poor
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503:. In the early 1940s, Diane's father employed Diane and Allan to take photographs for the department store's advertisements. Allan was a photographer for the
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683:'s mother). In general, her magazine assignments decreased as her fame as an artist increased. Szarkowski hired Arbus in 1970 to research an exhibition on
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in 1974 posited that, "Arbus' camera reflected her own desperateness in the same way that the observer looks at the picture and then back at himself."
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1641:â Colin Wood, with the left strap of his jumper awkwardly hanging off his shoulder, tensely holds his long, thin arms by his side. Clenching a toy
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awarded Arbus a fellowship for her proposal entitled, "American Rites, Manners and Customs". She was awarded a renewal of her fellowship in 1966.
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832:" work has had such an influence on other photographers that it is already hard to remember how original it was", wrote the art critic
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In her lifetime she achieved some recognition and renown with the publication, beginning in 1960, of photographs in such magazines as
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1224:'s....I doubt anyone in the modern arts, not Kafka, not Beckett, has strung such a long, delicate thread between laughter and tears."
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began printing to complete Arbus's intended edition of 50. In 2017, one of these posthumous editions sold for $ 792,500 in 2017.
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was produced in 1972 and released on video in 1989. The voiceover was drawn from recordings made of Arbus' photography class by
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6769:"Five Decades of Photography at the MFA, Featuring the Dandrew-Drapkin Collection | Museum of Fine Arts, St. Petersburg"
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533:, and other magazines even though "they both hated the fashion world". Despite over 200 pages of their fashion editorial in
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6882:"First Comprehensive Exhibition Of Masterworks From New Orleans Museum Of Art Photography Collection Opens In November 2013"
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824:, "If she was doing the kind of work she was doing and photography wasn't enough to keep her alive, what hope did we have?"
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episodes" during her life, similar to those experienced by her mother; the episodes may have been made worse by symptoms of
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where her photographs were "the overwhelming sensation of the American Pavilion" and "extremely powerful and very strange".
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2111:. Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Malba, Buenos Aires, Argentina.
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The Social Scene: the Ralph M. Parsons Foundation Photography Collection at the Museum of Contemporary Art, Los Angeles
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in his right hand and holding his left hand in a claw-like gesture, his facial expression is one of consternation. The
3459:"A Window into the World of Diane Arbus: Photographs from the portfolio, "A box of 10", reveal photographer's secrets"
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Some of Arbus's subjects and their relatives have commented on their experience being photographed by Diane Arbus:
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to conceal....She loved conundrum, contradiction, riddle, and this, as much as the pain in her work, puts it near
451:. Before his move to California, Allan set up her darkroom, and they thereafter maintained a long correspondence.
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wrote an essay in 1973 entitled "Freak Show" that was critical of Arbus' work; it was reprinted in her 1977 book
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confirms our earliest impression of Arbus's work; namely, that it is as iconographic as it gets in any medium."
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asked in 2007 whether Arbus's photographs humiliate the subjects or the viewers. In a 2013 interview for the
1191:, with her apron and order pad and her nicked shin. And it's famously in the naked couple in the woods, like
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3170:"Diane Arbus in a new light / SFMOMA exhibition shatters preconceptions about photographer and her subjects"
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Charrier, Philip (September 12, 2012). "On Diane Arbus: Establishing a Revisionist Framework of Analysis".
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as a source of inspiration. Critics generally took issue with the film's "fairytale" portrayal of Arbus.
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Rice, Shelley. "Essential Differences: A Comparison of the Portraits of Lisette Model and Diane Arbus".
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1412:. Edited by Doon Arbus and Marvin Israel. With texts by Diane Arbus and an essay by Thomas W. Southall.
738:, in May 1971. After his encounter with Arbus and the portfolio, Philip Leider, then editor in chief of
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1359:. Edited by Doon Arbus and Marvin Israel. Accompanied an exhibition at Museum of Modern Art, New York.
475:, from Allan shortly after they married. Shortly thereafter, she enrolled in classes with photographer
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5373:""A young Brooklyn family going for a Sunday outing, N.Y.C., 1966" ~ Diane Arbus « Adrianna Mena"
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1716:) or as "a Madonna turned in contrapposto... with his penis hidden between his legs" (referring to a
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missing information, and for focusing on "sex, depression and famous people", instead of Arbus' art.
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6521:"Posed: Portrait Photography from the Permanent Collection â When: June 30, 2017 â October 29, 2017"
1888:. Palazzo della Cento Finestre, Florence; Palazzo Fortuny, Venice; Palazzo delle Esposizioni, Milan.
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2013:
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1551:. By Jeff L. Rosenheim. Accompanied an exhibition that premiered at The Metropolitan Museum of Art.
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366:, edited by Doon Arbus and Marvin Israel and first published in 1972, has never been out of print.
337:(MoMA) in New York City from 1962 to 1991, championed her work and included it in his 1967 exhibit
295:
7217:
Hubert's Freaks: the Rare-Book Dealer, the Times Square Talker, and the Lost Photos of Diane Arbus
6303:
6050:
5413:"Diane Arbus (1923â1971), Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967"
4642:"Diane Arbus, Legendary New York Photographer, Celebrated in Retrospective at Metropolitan Museum"
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Between 2003 and 2006, Arbus and her work were the subject of another major traveling exhibition,
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1655:â Wearing long coats and "worldlywise expressions", two adolescents appear older than their ages.
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Beginning in 1969 Arbus undertook a series of photographs of people at New Jersey residences for
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Diane Arbus: Child with a Toy Hand Grenade in Central Park, N.Y.C. 1962 1962, printed after 1971
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Tarzan, Deloris. "Arbus â Her Brutal Lens Disclosed Aspects Previously Unseen in Her Subjects".
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camera which produced the grainy rectangular images characteristic of her post-studio work to a
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7849:
6304:"Birmingham Museum of Art | » Artists » Diane Arbus, United States, 1923 â 1971"
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but to her people, because she has clearly come to feel something like love for them herself. "
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6127:"Diane Arbus 'Untitled' Works Inaugurate David Zwirner's Status As Co-Reps Of Artist's Estate"
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5119:"Diane Arbus 'Untitled' Works Inaugurate David Zwirner's Status as Co-Reps of Artist's Estate"
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3960:"Diane Arbus 'Untitled' Works Inaugurate David Zwirner's Status as Co-Reps of Artist's Estate"
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2045:, Paris; and Centre RĂ©gional de la Photographie Nord Pas-de-Calais, Douchy-les-Mines, France.
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for a project on "American rites, manners, and customs"; the fellowship was renewed in 1966.
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In 1972, a year after her suicide, Arbus became the first photographer to be included in the
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7295:. "An Emergency in Slow Motion: The Inner Life of Diane Arbus". New York: Bloomsbury, 2011.
7151:
5569:
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5015:
O'Brien, Barbara. "Learning to Read: the Epic Narratives of Diane Arbus and August Sander".
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6791:"Review: Stunning, comprehensive photography survey at Museum of Fine Arts, St. Petersburg"
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Davies, David. "Susan Sontag, Diane Arbus and the Ethical Dimensions of Photography". In:
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1986:
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1807:(125 photographs, curated by John Szarkowski). Museum of Modern Art, New York; Baltimore;
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Shloss, Carol. "Off the (W)rack : Fashion and Pain in the Work of Diane Arbus". In:
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Lord, Catherine. "What Becomes a Legend Most: the Short, Sad Career of Diane Arbus". In:
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Coleman, A.D. "Diane Arbus, Lee Friedlander, and Garry Winogrand at Century's End". In:
5191:
Armstrong, Carol. "Biology, Destiny, Photography: Difference According to Diane Arbus".
3882:
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Budick, Ariella. "Factory Seconds: Diane Arbus and the Imperfections in Mass Culture".
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179:
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Charrier, Philip. "On Diane Arbus: Establishing a Revisionist Framework of Analysis".
1724:). The parted curtain behind the man adds to the theatrical quality of the photograph.
1709:â The subject has been described as in a "Venus-on-the-half-shell pose" (referring to
1032:
revulsion against moral judgment, lends her work an extraordinary ethical conviction."
7909:
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5317:"Diane Arbus (1923â1971) Child with a toy hand grenade in Central Park, N.Y.C., 1962"
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1874:; 14 galleries and museums in Australia; and 7 galleries and museums in New Zealand.
1519:. By Elisabeth Sussman and Doon Arbus. Contains the chronology and biographies from
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Davey, Moyra, and Janson Simon. "Diane Arbus, a Printed Retrospective, 1960â1971".
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551:, did include a photograph by the Arbuses of a father and son reading a newspaper.
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479:. The Arbuses' interests in photography led them, in 1941, to visit the gallery of
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1569:. Accompanied an exhibition that premiered at the Smithsonian American Art Museum.
4721:
1850:(118 photographs, curated by Doon Arbus and Marvin Israel). Seibu Museum, Tokyo;
1006:
published a belated obituary of Arbus as part of the Overlooked history project.
7678:
7566:
and Suzanne Ferriss. New Brunswick, New Jersey: Rutgers University Press, 1994.
7403:
6182:"Diane Arbus: In the Beginning review â a genius who made every picture a story"
5207:. "She Opened Our Eyes Photographer Diane Arbus Presented a New Way of Seeing."
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541:, the Arbuses' fashion photography has been described as of "middling quality".
496:
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114:
7650:
Hulick, Diana Emery. "Diane Arbus's Women and Transvestites: Separate Selves".
7028:
6100:
4449:
3521:
Sass, Louis A. "'Hyped on Clarity': Diane Arbus and the Postmodern Condition".
3230:
2849:
2078:. Fraenkel Gallery, San Francisco; Martin-Gropius-Bau, Berlin; FOAM, Amsterdam.
43:
7731:
Warburton, Nigel. "Diane Arbus and Erving Goffman: the Presentation of Self".
7253:
7075:"A Piercing View of the Twentieth Century, Through the Eyes of the Teddy Bear"
6654:
6282:"Highlights of the Bank Austria Art Collection | Bank Austria Kunstforum"
4747:"A Visual Chronicler of Humanity's Underbelly, Draped in a Pelt of Perversity"
4097:"Was John Szarkowski the most influential person in 20th-century photography?"
1267:
1233:
1119:
1112:
981:
664:
596:
434:
394:. Because of her family's wealth, Arbus was insulated from the effects of the
251:
158:
7547:. Cambridge, Massachusetts: Belknap Press of Harvard University Press, 1980.
6028:
2734:
374:
Arbus was born Diane Nemerov to David Nemerov and Gertrude Russek Nemerov, a
351:. Her photographs were also included in a number of other major group shows.
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3250:
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734:
published six photographs, including a cover image, from Arbus's portfolio,
438:
163:
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In late 1959, Arbus began a relationship with the art director and painter
445:
popularly known for his role as Dr. Sidney Freedman on the television show
6907:
6746:
4680:
4667:
4628:
The Open Book: a History of the Photographic Book from 1878 to the Present
5511:
Sound Portraits Productions, October 6, 1999. Retrieved February 5, 2010.
5149:"Double Exposure: a Moment with Diane Arbus Created a Lasting Impression"
3723:
Fox, Catherine. "Snapshot/Diane Arbus: True Portrait Lies Outside Film."
1776:). After Arbus's death, under the auspices of the Estate of Diane Arbus,
1626:
Jewish Giant, taken at Home with His Parents in the Bronx, New York, 1970
1107:
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632:
586:
321:
272:
268:
260:
4423:
4282:
3985:
7001:
Diane Arbus: Child with a Toy Hand Grenade in Central Park, N.Y.C. 1962
6153:"A New Diane Arbus Show Presents the Vision She Spent Her Life Seeking"
1839:; Florida Center for the Arts, University of South Florida, Tampa; and
1642:
472:
383:
7438:
The 100 Most Influential Women of All Time: a Ranking Past and Present
4935:
Goldman, Judith. "Diane Arbus: The Gap Between Intention and Effect".
4609:. New York: PPP Editions in association with Roth Horowitz LLC, 2001.
3648:"Incest, suicide â and the real reason we should remember Diane Arbus"
2941:"The Profound Vision of Diane Arbus: Flaws in Beauty, Beauty in Flaws"
2076:
Diane Arbus: Christ in a Lobby and Other Unknown or Almost Known Works
1677:
Boy With a Straw Hat Waiting to March in a Pro-War Parade, N.Y.C. 1967
7889:"Review/Art; Diane Arbus and Alice Neel, with Attention to the Child"
7502:
edited by Richard Bolton. Cambridge, Massachusetts: MIT Press, 1989.
7370:
Degrees of Guidance: Essays on Twentieth-Century American Photography
7358:
5298:
5226:"Diane Arbus: Portrait of a Photographer review â a disturbing study"
4891:
Parsons, Sarah. "Sontag's Lament: Emotion, Ethics, and Photography".
4607:
The Book of 101 Books: Seminal Photographic Books of the 20th Century
1305:
688:
608:
with her subjects and re-photographing some of them over many years.
601:
298:
and highlight the importance of proper representation of all people.
7545:
Notable American Women: the Modern Period: a Biographical Dictionary
1862:, Edinburgh, Scotland; Van Abbe Museum, Eindhoven, The Netherlands;
7485:
The Creative Mystique: from Red Shoes Frenzy to Love and Creativity
5763:
Morgan, Susan. "Loitering with Intent: Diane Arbus at the Movies".
429:. In 1941, at the age of 18, she married her childhood sweetheart,
1616:
1604:
1591:
589:
264:
5820:(Eugene, Oregon), February 27, 2005. Retrieved February 10, 2010.
931:
A half-hour documentary film about Arbus' life and work known as
687:
called "From the Picture Press"; it included many photographs by
7385:
Inside the Photograph: Writings on Twentieth-Century Photography
6987:
2468:
892:
In 1972, Arbus was the first photographer to be included in the
375:
5487:
Hume, Christopher. "Photography's Tragic Poet of the Bizarre".
4992:"Revisiting the Icons: The intimate photography of Diane Arbus"
4861:
Magid, Marion (April 1, 1967). "Diane Arbus in New Documents".
3761:"Revisiting the Icons: The intimate photography of Diane Arbus"
1750:
A Jewish Giant at Home with His Parents in The Bronx, N.Y. 1970
1671:
A Young Man in Curlers at Home on West 20th Street, N.Y.C. 1966
7704:
McPherson, Heather. "Diane Arbus's Grotesque 'Human Comedy'".
5452:"Diane Arbus (1923â1971) Identical twins, Roselle, N.J., 1966"
1881:. Robert Miller Gallery, New York; Fraenkel Gallery, New York.
1866:, Amsterdam; Lenbachhaus StÀdtische Galerie, Munich, Germany;
1739:
1665:
A Young Brooklyn Family Going for a Sunday Outing, N.Y.C. 1966
947:, who was Arbus' friend and the wife of her ex-husband Allan.
903:
Doon Arbus and Marvin Israel edited and designed a 1972 book,
750:
The first major exhibition of her photographs occurred at the
515:
even her husband thought was "demeaning". They contributed to
437:, who would become a writer, was born in 1945; their daughter
215:
7671:
Jeffrey, Ian. "Diane Arbus and the Past: when She Was Good".
7599:
Alexander, M. Darsie. "Diane Arbus: a Theatre of Ambiguity".
7483:"Diane Arbus and the Demon Lover". In: Kavaler-Adler, Susan.
6725:"Moderna Museet Collection | Moderna Museet i Stockholm"
2174:
Arbus's work is held in the following permanent collections:
1764:
was a portfolio of selected 1963â1970 photographs in a clear
989:
as Arbus; it used Patricia Bosworth's unauthorized biography
691:
whose work Arbus admired. She also taught photography at the
7850:"Art as Freak Show: Diane Arbus, Revelations at the V&A"
7532:. Middletown, Connecticut: Wesleyan University Press, 1985.
7372:. Cambridge and New York: Cambridge University Press, 1993.
6326:"Photo Friday: Twins | Center for Creative Photography"
5909:"New Diane Arbus exhibition set for Dean Gallery, Edinburgh"
5855:"Fraenkel Shows Us Diane Arbus Before She Even Knew Herself"
4181:"Diane Arbus Called Her Portraits 'A Secret About a Secret'"
3699:"The Met Breuer's Diane Arbus Exhibition Is a Tour de Force"
3603:
Badger, Gerry (2003). "Arbus [née Nemerov], Diane".
900:
Doon Arbus traveled around the world between 1973 and 1979.
232:
5258:
Paris Photo 6 : Diane Arbus Ă la galerie Robert Miller
4326:"The untold story of Stanley Kubrick's obsessive assistant"
4141:
Encyclopedia of Twentieth-Century Photography, 3-Volume Set
3885:. March 8, 2005 â May 30, 2005. Retrieved February 7, 2010.
2008:, South Hadley, Massachusetts; Grey Art Gallery, New York;
1701:
A Family on Their Lawn One Sunday in Westchester, N.Y. 1968
937:
Going Where I've Never Been: The Photography of Diane Arbus
238:
7196:. Reprinted by W. W. Norton in 2005 with a new afterword,
4966:"Unmasked A different kind of collection from Diane Arbus"
4269:
Bunnell, Peter C. (JanuaryâFebruary 1973). "Diane Arbus".
879:
An Emergency in Slow Motion: The Inner Life of Diane Arbus
7657:
Hulick, Diana Emery. "Diane Arbus's Expressive Methods".
7500:
The Contest of Meaning: Critical Histories of Photography
7455:. London and Chicago: Fitzroy Dearborn Publishers, 1997.
6860:"Search the Collection | National Gallery of Canada"
3410:"In Portraits by Others, a Look That Caught Avedon's Eye"
221:
7664:
Jeffrey, Ian. "Diane Arbus and the American Grotesque".
6473:"Diane Arbus | International Center of Photography"
4359:(London), October 14, 2005. Retrieved February 14, 2010.
1598:
Child with Toy Hand Grenade in Central Park, N.Y.C. 1962
1388:
Fortieth-anniversary edition. New York: Aperture, 2011.
7234:. New Haven, Connecticut: Yale University Press, 2003.
7104:"In small shows, Ydessa Hendeles changed the art world"
6209:"Review: America through the lens of Diane Arbus â
â
â
â
â
"
5917:(Scotland), February 23, 2010. Retrieved March 5, 2010;
5019:, vol. 25, no. 6, pp. 22â23, 67, OctoberâNovember 2004.
4505:
Kramer, Hilton. "Arbus Photos, at Venice, Show Power".
3505:(London), October 18, 1997. Retrieved February 4, 2010.
1288:
writes, "The 'Untitled' photographs evoke paintings by
7440:. Secaucus, New Jersey: Carol Publishing Group, 1996.
5735:"Diane Arbus. Ydessa Hendeles Art Foundation, Toronto"
5473:"A Family on the Lawn One Sunday in Westchester, N.Y."
3313:, vol. 93, no. 9, pp. 65â71, 73, 75, 77, October 2005.
2907:
The Sky's the Limit: Passion and Property in Manhattan
2012:, Maine; Spencer Museum of Art, Lawrence, Kansas; and
7834:
Jewish Women: A Comprehensive Historical Encyclopedia
7613:
Budick, Ariella. "Diane Arbus: Gender and Politics".
6638:
Child with a toy hand grenade in Central Park, N.Y.C.
4949:
Goldin, Nan (November 1995). "UntitledâDiane Arbus".
4059:
4057:
4035:"John Szarkowski, Curator of Photography, Dies at 81"
3883:"Diane Arbus Revelations: More About This Exhibition"
1296:
and especially the covens and rituals conjured up by
811:
in New York City, Arbus died by suicide by ingesting
241:
224:
7606:
Bedient, Calvin. "The Hostile Camera: Diane Arbus".
7204:. Reprinted by Vintage in 2005 with a new foreword,
7050:"Child with a Toy Hand Grenade in Central Park, NYC"
1019:
exhibition, which featured the work of Diane Arbus,
235:
212:
7631:, vol. 36, no. 4, pp. 422â438, September 2012.
6933:"The Progressive Art Collection | Institution"
6151:Tashjian, Rachel; Zhang, Eddie (November 9, 2018).
5898:(London), May 6, 2009. Retrieved February 10, 2010.
5741:, no. 29, Spring 1991. Retrieved February 10, 2010.
5053:Koestenbaum, Wayne. "Diane Arbus and Humiliation".
4320:
4318:
4215:"How an Obits Project on Overlooked Women Was Born"
3854:, vol. 28, no. 2, pp. 75â79, JanuaryâFebruary 1991.
3265:"Diane Arbus Biography, Art, and Analysis of Works"
2196:
BA-CA Kunstforum, Bank Austria Art Collection, Wien
2132:, Smithsonian American Art Museum, Washington, D.C.
1151:Barbara O'Brien in a 2004 review of the exhibition
390:department store, co-founded by Arbus' grandfather
229:
218:
172:
151:
140:
108:
100:
84:
61:
34:
7681:. "The Uncanny Portrait: Sander, Arbus, Samaras".
6328:. Ccp.arizona.edu. October 4, 2013. Archived from
5585:"Diane Arbus (1923â1971) A box of ten photographs"
5044:, September 30, 2005. Retrieved February 14, 2010.
4819:"Remarkable Women We Overlooked in Our Obituaries"
3009:
1527:Silent Dialogues: Diane Arbus & Howard Nemerov
433:, whom she had dated since age 14. Their daughter
7852:. London: Social Affairs Unit, December 16, 2005.
7820:, Smithsonian American Art Museum, April 6, 2018.
7721:, vol. 92, no. 15 (May 23, 2016), pp. 56â67.
7406:. Los Angeles: Museum of Contemporary Art, 2000.
5863:, September 8, 2007. Retrieved February 10, 2010.
5358:Brill, Lesley. "The Photography of Diane Arbus".
5069:"Dirty Mind: An Interview with Wayne Koestenbaum"
4588:. San Antonio: Texas Photographic Society, 2001.
4256:, November 13, 1972. Retrieved February 12, 2010.
3629:(July 10, 2016). "Diane Arbus: The Early Years".
3305:
3221:
3219:
963:International Photography Hall of Fame and Museum
604:camera with flash in addition to the Rolleiflex.
7735:, vol. 16, no. 4, pp. 401â404, Winter 1992.
7708:, vol. 19, no. 2, pp. 117â120, Summer 1995.
7661:, vol. 19, no. 2, pp. 107â116, Summer 1995.
7617:, vol. 19, no. 2, pp. 123â126, Summer 1995.
7603:, vol. 19, no. 2, pp. 120â123, Summer 1995.
4807:, December 18, 2007. Retrieved February 5, 2010.
4788:, November 10, 2006. Retrieved February 3, 2010.
4755:, November 10, 2006. Retrieved February 4, 2010.
4567:. vol. I. London & New York: Phaidon, 2004.
4297:"100 Most influential photographers of all time"
3815:
3813:
3811:
3809:
3749:, November 3, 2003. Retrieved February 12, 2010.
3559:, October 10, 2003. Retrieved February 12, 2010.
3303:
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3299:
3297:
3295:
3293:
3291:
3289:
3287:
3285:
2931:
2929:
2927:
2925:
2923:
2429:The Progressive Art Collection, Mayfield Village
410:. Howard's son is the Americanist art historian
7610:, vol. 73, no. 1, pp. 11â12, January 1985.
7517:. Los Angeles: The J. Paul Getty Museum, 2004.
6838:"Diane Arbus | National Gallery of Canada"
5936:, January 7, 2010. Retrieved February 11, 2010.
5801:, October 5, 2003. Retrieved February 10, 2010.
5718:Thornton, Gene. "Narrative Works â and Arbus".
5098:"Met Breuer exhibit shows Diane Arbus emerging"
4703:
4701:
3741:"Photography: Diane Arbus: Visionary Voyeurism"
2843:
2841:
2839:
2837:
2039:Diane Arbus, a Printed Retrospective, 1960â1971
7675:, vol. 19, no. 2, pp. 95â99, Summer 1995.
7668:, vol. 114, no. 5, pp. 224â229, May 1974.
7654:, vol. 16, no. 1, pp. 34â39, Spring 1992.
5884:
5882:
5179:, October 8, 2005. Retrieved February 3, 2010.
4264:
4262:
2790:
2788:
2786:
2784:
2782:
2780:
2778:
2563:
2561:
2559:
2557:
2555:
2553:
2551:
2225:, Wesleyan University, Middletown, Connecticut
2085:. Gagosian Gallery, Beverly Hills, California.
2028:Something Was There: Early Work by Diane Arbus
1543:. New York: Metropolitan Museum of Art, 2016.
7806:"The Odyssey of Diane Arbus" panel discussion
7685:, vol. 11, no. 10, pp. 58â66, June 1973.
5688:
5686:
5684:
5682:
5680:
5678:
5676:
5674:
5672:
5670:
5668:
5666:
5664:
5662:
5660:
5658:
5656:
5654:
5652:
5650:
5648:
5646:
5644:
5642:
5640:
5573:, April 21, 2005. Retrieved February 5, 2010.
5187:
5185:
4552:
4550:
4205:
4203:
3940:"Diane Arbus: Pictures from the Institutions"
3598:
3596:
3594:
3580:
3578:
3213:, March 21, 2005. Retrieved February 4, 2010.
3196:
3194:
3192:
3190:
3087:
3085:
3083:
2817:Encyclopedia of Twentieth-Century Photography
2776:
2774:
2772:
2770:
2768:
2766:
2764:
2762:
2760:
2758:
2717:Diane Arbus : Portrait of a Photographer
2549:
2547:
2545:
2543:
2541:
2539:
2537:
2535:
2533:
2531:
2361:Museum of Fine Arts (St. Petersburg, Florida)
1827:; Witte Memorial Museum, San Antonio, Texas;
1653:Teenage Couple on Hudson Street, N.Y.C., 1963
1631:Arbus's most well-known photographs include:
612:that lack of money was a persistent concern.
8:
7487:. New York: Routledge, 1996. Pages 167â172.
6495:"Women photographers in the IVAM Collection"
5973:"Fotomuseum Winterthur â Vorschau/RĂckschau"
5638:
5636:
5634:
5632:
5630:
5628:
5626:
5624:
5622:
5620:
4895:, vol. 2, no. 3, pp. 289â302, November 2009.
4799:"A Big Gift for the Met: the Arbus Archives"
4630:. Göteborg, Sweden: Hasselblad Center, 2004.
4523:
4521:
4519:
4517:
4515:
3948:, May 15, 1992. Retrieved February 12, 2010.
3895:
3893:
3891:
3352:"The Cost of Diane Arbus's Life on the Edge"
3053:
3051:
3049:
3047:
3045:
3043:
3041:
3039:
3037:
2975:
2973:
2971:
2969:
2967:
2965:
2963:
2676:
2674:
2672:
2670:
2668:
2666:
2614:
2612:
2610:
2608:
2606:
1879:Diane Arbus: Vintage Unpublished Photographs
1833:Berkeley Art Museum and Pacific Film Archive
7728:, vol. 18, no. 9, pp. 66â71, May 1980.
5928:"Fraenkel Gallery Pairs Sculptor and Arbus"
5776:Bishop, Louise. "The Challenge of Beauty".
5767:, number 47, pages 177â183, September 1996.
5609:: CS1 maint: numeric names: authors list (
5546:: CS1 maint: numeric names: authors list (
5436:: CS1 maint: numeric names: authors list (
5341:: CS1 maint: numeric names: authors list (
5278:
5276:
5274:
5211:. November 2, 2003, ProQuest. March 2, 2017
5157:, May 12, 2005. Retrieved February 3, 2010.
4763:
4761:
3798:"Portraits on Assignment (Press Release)".
3584:O'Neill, Alistair. "A Young Woman, N.Y.C."
3452:
3450:
3418:, August 27, 2006. Retrieved March 5, 2010.
2664:
2662:
2660:
2658:
2656:
2654:
2652:
2650:
2648:
2646:
2083:Diane Arbus: People and Other Singularities
1942:Diane Arbus: The Untitled Series, 1970â1971
1637:Child with Toy Hand Grenade in Central Park
7543:Sicherman, Barbara, and Carol Hurd Green.
7102:Everett-Green, Robert (November 5, 2012).
5844:, March 2005. Retrieved February 10, 2010.
5475:April 8, 2008. Retrieved February 7, 2010.
5401:. May 4, 2004. Retrieved February 6, 2010.
5362:, vol. 5, issue 1, pp. 69â76, Spring 1982.
5255:, 2003, p. 164, and online in the article
5057:, vol. 8, issue 4, pp. 345â347, Fall 2007.
5027:
5025:
4887:
4885:
4875:Kramer, Hilton. "From fashion to freaks".
3877:
3875:
3873:
3345:
3343:
3341:
3339:
3309:Rubinfien, Leo. "Where Diane Arbus Went".
2747:: CS1 maint: location missing publisher (
2588:"Diane Arbus, her vision, life, and death"
2300:Maison Europeene de la Photographie, Paris
1937:. Ydessa Hendeles Art Foundation, Toronto.
1611:Identical Twins, Roselle, New Jersey, 1967
1139:In her review of the traveling exhibition
918:was selected as one of the most important
558:in 1954. However, it was her studies with
42:
31:
8001:20th-century American women photographers
7951:American people of Russian-Jewish descent
7530:Writing of Women: Essays in a Renaissance
6655:"Diane Arbus | Milwaukee Art Museum"
5354:
5352:
4939:, vol. 34, issue 1, pp. 30â35, Fall 1974.
4774:Fur: An Imaginary Portrait of Diane Arbus
4501:
4499:
4239:
4237:
3735:
3733:
3727:December 3, 2006, ProQuest. March 2, 2017
3613:10.1093/gao/9781884446054.article.T003644
3535:
3533:
3531:
3401:
3399:
3397:
3092:John Simon Guggenheim Memorial Foundation
2909:. New York: Little, Brown, 2005. p. 143.
2384:Museo Nacional Centro de Arte Reina SofĂa
1953:The Movies: Photographs from 1956 to 1958
1529:. San Francisco: Fraenkel Gallery, 2015.
1234:Fur: An Imaginary Portrait of Diane Arbus
1056:In his review of the 1972 retrospective,
982:Fur: An Imaginary Portrait of Diane Arbus
5483:
5481:
5140:
5138:
5136:
5134:
5132:
4376:. The Practical Art World. June 19, 2011
3931:
3929:
3927:
3525:, vol. 25, no. 1, pp. 1â37, Summer 2005.
2885:. New York: W. W. Norton, 2005. p. 250.
1913:State University of New York at Purchase
1344:Child With a Toy Grenade in Central Park
7971:Ethical Culture Fieldston School alumni
7624:, vol. 12, no. 2, pp. 50â70, 1997.
7473:. New York: Aperture Foundation, 2009.
7387:. New York: Aperture Foundation, 2006.
7250:Diane Arbus: Portrait of a Photographer
6101:"Diane Arbus: A box of ten photographs"
5067:Koestenbaum, Wayne (December 2, 2013).
3867:. New York: Museum of Modern Art, 1973.
3825:"Diane Arbus, a Hunter Wielding a Lens"
3517:
3515:
3513:
3511:
3491:
3489:
3487:
3485:
3483:
3481:
3479:
2980:Crookston, Peter (September 30, 2005).
2820:. New York: Routledge. pp. 51â56.
2527:
2337:Museum of Contemporary Art, Los Angeles
1909:California State University, Long Beach
1661:â Three girls sit at the head of a bed.
382:â who lived in New York City and owned
290:writes in his review of the exhibition
7976:Drug-related suicides in New York City
7579:Icons of Photography: the 20th Century
6616:"Diane Arbus | LACMA Collections"
5831:"Diane Arbus's Noah's Ark of Humanity"
5602:
5539:
5429:
5334:
4685:International Photography Hall of Fame
4668:"American Photography. DVD/VHS Videos"
3784:"Guggenheim Fund Grants $ 1,380,000".
3205:"Looking Back: Diane Arbus at the Met"
2804:magazine. Retrieved December 13, 2017.
2740:
1707:A Naked Man Being a Woman, N.Y.C. 1968
1339:photo. Arbus photographed him in 1963.
1187:, and in the virginal waitress at the
1159:'s work "filled with life and energy."
1132:, saying, "The extraordinary power of
545:'s noted 1955 photography exhibition,
7330:Herstory: Women who Changed the World
7188:. Reprinted by W. W. Norton in 1995,
6235:"Diane Arbus: Photographs, 1956â1971"
5890:"Diane Arbus: a Flash of Familiarity"
5523:"Diane Arbus, A Jewish Giant at Home"
5411:Christie's, Lot 117 (April 6, 2016).
4851:, vol. 204, pp. 571â573, May 1, 1967.
3697:Krasinski, Jennifer (July 26, 2016).
3673:"Diane Arbus Photography, Bio, Ideas"
3588:, vol. 1, no. 1, pp. 7â20, July 2008.
3428:McGill, Douglas C. (April 24, 1987).
3118:"Arbus Photos, at Venice, Show Power"
2600:, May 13, 1984. Accessed May 10, 2017
2292:KMS Fine Art Group, Baar, Switzerland
2281:John and Mable Ringling Museum of Art
2130:Diane Arbus: A Box of ten photographs
1993:, London; CaixaForum, Barcelona; and
1555:Diane Arbus: A box of ten photographs
1500:("In the darkroom"); a chronology by
1165:, in a 2005 review of the exhibition
961:In 1986, Arbus was inducted into the
333:, the director of photography at the
250:
7:
8006:Drug-related deaths in New York City
7808:, John Jacob with Jeffrey Fraenkel,
7515:Photographers of Genius at the Getty
7328:Ashby, Ruth, and Deborah Gore Ohrn.
7310:. Göttingen, Germany: Steidl, 2005.
7279:Diane Arbus, ou, le RĂȘve du Naufrage
7117:– via www.theglobeandmail.com.
5521:Christie's, Lot 25B (May 17, 2017).
4666:Traditional Fine Arts Organization.
2408:National Museum of Modern Art, Tokyo
2021:Diane Arbus: Other Faces Other Rooms
1907:, Lexington; University Art Museum,
1893:Diane Arbus: Magazine Work 1960â1971
1843:, University of Illinois, Champaign.
1659:Triplets in Their Bedroom, N.J. 1963
1509:Diane Arbus: A Chronology, 1923â1971
483:, and learn about the photographers
7986:20th-century American photographers
7180:. (Reprinted by Heinemann in 1985,
5999:"Exhibitions: Museumsportal Berlin"
4584:Caslin, Jean, and D. Clarke Evans.
4351:"Diane Arbus's Carnival of Cruelty"
4015:Leider, Philip (October 16, 2004).
3168:Baker, Kenneth (October 19, 2003).
2418:New York Public Library Main Branch
2263:International Center of Photography
2159:Diane Arbus: Photographs, 1956â1971
1813:Museum of Contemporary Art, Chicago
1684:Identical Twins, Roselle, N.J. 1967
933:Masters of Photography: Diane Arbus
585:Around 1962, Arbus switched from a
471:Arbus received her first camera, a
6568:"Diane Arbus Fine Art Invest Fund"
5793:"Art; Diane Arbus's Family Values"
4477:"Diane Arbus: humanist or voyeur?"
4303:. aPhotoEditor. September 18, 2012
4125:Museum of Contemporary Art Chicago
3369:Hinckley, David (April 23, 2013).
2851:Diane Arbus: An Aperture Monograph
2465:Art Gallery, Sweet Briar, Virginia
2439:San Francisco Museum of Modern Art
2343:Museum of Contemporary Photography
2118:. Fraenkel Gallery, San Francisco.
2023:. Robert Miller Gallery, New York.
1971:San Francisco Museum of Modern Art
1955:. Robert Miller Gallery, New York.
1357:Diane Arbus: An Aperture Monograph
974:San Francisco Museum of Modern Art
916:Diane Arbus: An Aperture Monograph
905:Diane Arbus: An Aperture Monograph
807:On July 26, 1971, while living at
404:Washington University in St. Louis
364:Diane Arbus: An Aperture Monograph
25:
7812:, Karan Rinaldo, Jeff Rosenheim,
7230:Lee, Anthony W., and John Pultz.
6727:. Modernamuseet.se. April 3, 1958
5780:, vol. 17, no. 63, December 1997.
5195:, vol. 66, pp 28â54, Autumn 1993.
5117:Lehrer, Adam (November 6, 2018).
5055:Studies in Gender & Sexuality
4990:Prose, Francine (November 2003).
4964:Als, Hilton (November 27, 1995).
4817:Padnani, Amisha (March 8, 2018).
4430:. Smithsonian American Art Museum
4422:Smithsonian American Art Museum.
3986:"Five Photographs by Diane Arbus"
3958:Lehrer, Adam (November 6, 2018).
3850:"The Other Side of Diane Arbus".
3759:Prose, Francine (November 2003).
2096:, Paris; Fotomuseum, Winterthur;
2094:Galerie nationale du Jeu de Paume
1905:University of Kentucky Art Museum
1793:. Museum of Modern Art, New York.
418:family and her lavish childhood.
27:American photographer (1923â1971)
7946:Photographers from New York City
7793:
6771:. Mfastpete.org. October 4, 2015
4648:. The Metropolitan Museum of Art
4271:The Print Collector's Newsletter
3725:The Atlanta Journal Constitution
3430:"Margaret Israel, 57, An Artist"
3116:Kramer, Hilton (June 17, 1972).
2570:. New York: Random House, 2003.
2296:Los Angeles County Museum of Art
2200:BibliothĂšque nationale de France
2006:Mount Holyoke College Art Museum
1975:Los Angeles County Museum of Art
1798:Diane Arbus Portfolio: 10 Photos
459:Arbus was close to photographer
423:Ethical Culture Fieldston School
208:
130:
7921:American portrait photographers
7860:How Diane Arbus Became 'Arbus'"
7693:"Arbus, Untitled and Unearthly"
7361:2005, p. 413 (in German).
6908:"You searched for Arbus, Diane"
6105:Smithsonian American Art Museum
6051:"diane arbus: in the beginning"
5876:, vol. 47, no. 8, p. 183, 2009.
4586:Building a Photographic Library
4475:O'Hagan, Sean (July 26, 2011).
3905:"Arbus, Untitled and Uneartlhy"
3457:Ault, Alicia (April 24, 2018).
3326:(May 13, 1984). "Diane Arbus".
2814:Somers-Davis, Lynne M. (2006).
2719:(1st ed.). New York City.
2445:Smithsonian American Art Museum
2212:Center for Creative Photography
2102:Foam Fotografiemuseum Amsterdam
1738:'s then-infant son, the future
1496:("The question of belief") and
281:article, "Arbus Reconsidered",
126:
7961:American fashion photographers
7146:Arbus, Doon, and Diane Arbus.
7005:National Galleries of Scotland
6642:National Galleries of Scotland
6499:Institut ValenciĂ d'Art Modern
6407:Frances Lehman Loeb Art Center
5301:2005, p. 413 (in German), and
4670:. Retrieved February 12, 2010.
3646:Wood, Gaby (October 8, 2016).
3232:Diane Arbus : A Biography
2509:Ydessa Hendeles Art Foundation
2503:Williams College Museum of Art
2473:National Galleries of Scotland
2269:Institut ValenciĂ d'Art Modern
2235:Frances Lehman Loeb Art Center
1728:A Very Young Baby, N.Y.C. 1968
1:
7916:American contemporary artists
4456:. Yale University Art Gallery
4450:"Yale University Art Gallery"
3375:actor Allan Arbus dead at 95"
2796:"A Fresh Look at Diane Arbus"
2505:, Williamstown, Massachusetts
2479:Tokyo Metropolitan Art Museum
2396:National Gallery of Australia
2148:Diane Arbus: In the Beginning
2109:diane arbus: in the beginning
1962:. Galleria Photology, London.
1541:diane arbus: in the beginning
972:, which was organized by the
760:(1967) alongside the work of
701:Rhode Island School of Design
626:in rural South Carolina (for
615:In 1963, Arbus was awarded a
51:
7901:Diane Arbus at David Zwirner
7784:Resources in other libraries
7765:Resources in other libraries
7007:. Accessed November 23, 2016
6990:. Accessed November 23, 2016
6644:. Accessed November 23, 2016
6027:. Foam Press. Archived from
5842:New England Antiques Journal
5565:"The Arbus Traveling Circus"
5305:(condensed English version).
5171:"Wrestling with Diane Arbus"
5036:"Art in Review; Diane Arbus"
4915:The New York Review of Books
4722:10.1080/03087298.2012.703401
4374:www.thepracticalartworld.com
3881:Metropolitan Museum of Art.
3350:Mar, Alex (March 11, 2017).
2435:, Amsterdam, the Netherlands
2378:Musée National d'Art Moderne
2355:Museum of Fine Arts, Houston
2315:Minneapolis Institute of Art
1979:Museum of Fine Arts, Houston
1901:Minneapolis Institute of Art
1837:Museum of Fine Arts, Houston
1575:. New York: Aperture, 2022.
1557:. New York: Aperture, 2018.
1511:. New York: Aperture, 2011.
1446:. Edited by Doon Arbus and
1231:'s 2006 review of the movie
979:In 2006, the fictional film
836:in a November 1972 issue of
8021:Artists who died by suicide
7824:Diane Arbus on The Red List
7581:. New York: Prestel, 1999.
7453:Dictionary of Women Artists
7425:. Oxford: Blackwell, 2008.
7349:Allgemeines KĂŒnstlerlexikon
7219:. Orlando: Harcourt, 2008.
6547:Kalamazoo Institute of Arts
5975:(in German). Archived from
5360:Journal of American Culture
5289:Allgemeines KĂŒnstlerlexikon
5073:Los Angeles Review of Books
3544:"The Velazquez of New York"
3329:The New York Times Magazine
3106:Retrieved February 4, 2010.
2794:DeCarlo, Tessa (May 2004).
2691:The New York Times Magazine
2426:, San Francisco, California
2349:Museum of Fine Arts, Boston
2331:Morgan Library & Museum
2287:Kalamazoo Institute of Arts
1919:Museum, Massachusetts; and
1342:Colin Wood, the subject of
1246:Los Angeles Review of Books
1015:In a 1967 review of MoMA's
722:people, posthumously named
408:United States Poet Laureate
8037:
7981:People with mood disorders
7332:. New York: Viking, 1995.
7232:Diane Arbus: Family Albums
7148:Diane Arbus: the Libraries
5812:"The World of Diane Arbus"
3800:Robert Miller Gallery, Inc
3235:. New York: W. W. Norton.
3102:November 25, 2010, at the
3012:Diane Arbus: Magazine Work
2491:Victoria and Albert Museum
2457:Stedelijk Museum Amsterdam
2402:National Gallery of Canada
2304:Metropolitan Museum of Art
2002:Diane Arbus: Family Albums
1991:Victoria and Albert Museum
1983:Metropolitan Museum of Art
1921:Philadelphia Museum of Art
1848:Diane Arbus: Retrospective
1821:National Gallery of Canada
1464:New York: Aperture, 2011.
1453:New York: Aperture, 1995.
1415:New York: Aperture, 1984.
1410:Diane Arbus: Magazine Work
1377:New York: Aperture, 1997.
1337:New York Times Book Review
1303:Adam Lehrer wrote, in his
1153:Diane Arbus: Family Albums
864:as a point of reference."
862:two identical twin sisters
809:Westbeth Artists Community
699:in New York City, and the
427:college-preparatory school
8016:Photography controversies
8011:Suicides in New York City
7779:Resources in your library
7760:Resources in your library
7419:Art and Ethical Criticism
7172:. New York: Knopf, 1984.
6912:New Orleans Museum of Art
6886:New Orleans Museum of Art
5752:Daily News of Los Angeles
4893:Photography & Culture
4370:"The Practical Art World"
4248:"Art: to Hades with Lens"
4019:. Sotheby's. p. 150.
3984:Arbus, Diane (May 1971).
3586:Photography & Culture
2413:New Orleans Museum of Art
2277:, Los Angeles, California
2061:Artist Rooms: Diane Arbus
1829:New Orleans Museum of Art
1825:Detroit Institute of Arts
679:, and Marguerite Oswald (
579:The Sunday Times Magazine
554:She studied briefly with
378:couple â immigrants from
48:Photograph by Allan Arbus
41:
7711:Pierpont, Claudia Roth.
7639:"Diane Arbus, 1923â1971"
7365:(subscription required).
7170:Diane Arbus: a Biography
6962:. Accessed March 7, 2018
6377:"Photographs after 1950"
5837:August 15, 2010, at the
5253:Diane Arbus: Revelations
4565:The Photobook: a History
3060:A box of ten photographs
2883:Diane Arbus: a Biography
2624:"Diane Arbus, 1923â1971"
2568:Diane Arbus: Revelations
2380:, Centre Pompidou, Paris
2206:Birmingham Museum of Art
2191:Art Institute of Chicago
2123:Diane Arbus: In the Park
2116:Diane Arbus: 1971 â 1956
1967:Diane Arbus: Revelations
1886:Diane Arbus: Photographs
1784:Notable solo exhibitions
1762:A box of ten photographs
1521:Diane Arbus: Revelations
1478:Diane Arbus: Revelations
991:Diane Arbus: A Biography
782:A box of ten photographs
736:A box of ten photographs
705:Providence, Rhode Island
693:Parsons School of Design
7956:Jewish American artists
7528:Rose, Phyllis, editor.
7471:Photography After Frank
7308:Arbus, Model, Strömholm
6618:. Collections.lacma.org
6356:Cleveland Museum of Art
6352:"Search the Collection"
5933:San Francisco Chronicle
5860:San Francisco Chronicle
4640:Staff, The Met (2005).
4454:www.artgallery.yale.edu
4424:"Exhibition Press Kits"
3550:March 27, 2010, at the
3058:Jacob, John P. (2018).
2390:National Gallery of Art
2218:Cleveland Museum of Art
2125:, LĂ©vy Gorvy, New York.
2065:National Museum Cardiff
1872:Frankfurter Kunstverein
1858:, Birmingham, England;
1573:Diane Arbus Revelations
1537:. By Alexander Nemerov.
1167:Diane Arbus Revelations
1141:Diane Arbus Revelations
985:was released, starring
970:Diane Arbus Revelations
720:intellectually disabled
537:, and over 80 pages in
343:along with the work of
292:Diane Arbus Revelations
278:New York Times Magazine
7878:Jewish Virtual Library
7798:Quotations related to
7733:History of Photography
7706:History of Photography
7673:History of Photography
7659:History of Photography
7652:History of Photography
7629:History of Photography
7615:History of Photography
7601:History of Photography
7351:(Artists of the World)
7346:. "Arbus, Diane". In:
7281:. Paris: ChĂȘne, 1985.
6817:www.museoreinasofia.es
6699:"Unique collaboration"
6239:Art Gallery of Ontario
5874:Artforum International
5507:June 10, 2010, at the
5291:(Artists of the World)
4710:History of Photography
4626:Roth, Andrew, editor.
4605:Roth, Andrew, editor.
4428:www.americanart.si.edu
4138:Warren, Lynne (2006).
3865:From the Picture Press
3096:"Fellows. Diane Arbus"
2684:(September 14, 2003).
2515:Yokohama Museum of Art
2185:Art Gallery of Ontario
2163:Art Gallery of Ontario
2054:Timothy Taylor Gallery
2010:Portland Museum of Art
1870:, Wuppertal, Germany;
1628:
1614:
1602:
1093:'s 1992 review of the
955:unauthorized biography
505:U.S. Army Signal Corps
147:(1959â1971; her death)
7991:The New Yorker people
7871:Oppenheimer, Daniel.
7828:Austin, Hillary Mac.
7293:Schultz, William Todd
7054:egallery.williams.edu
7029:"Vanartgallery.bc.ca"
6960:Spencer Museum of Art
6594:collection.kiarts.org
6452:. Harvard Art Museums
6450:"Harvard Art Museums"
6383:, Wesleyan University
6180:(February 12, 2019).
5733:Dault, Gary Michael.
5315:Christie's, Lot 26A.
5264:May 12, 2016, at the
4908:(November 15, 1973).
4781:June 5, 2011, at the
3903:(November 15, 2018).
3572:, September 21, 1986.
3008:Arbus, Diane (1984).
2848:Arbus, Diane (1972).
2485:Vancouver Art Gallery
2451:Spencer Museum of Art
2398:, Canberra, Australia
2243:, Rochester, New York
2229:Fotomuseum Winterthur
2208:, Birmingham, Alabama
2141:David Zwirner Gallery
2043:Kadist Art Foundation
1897:Spencer Museum of Art
1860:Scottish Arts Council
1760:In addition, Arbus's
1620:
1608:
1595:
1492:. Includes essays by
1274:In a 2018 review for
1103:Diane Arbus: Untitled
871:In 2011, a review in
649:Madalyn Murray O'Hair
617:Guggenheim Fellowship
327:Guggenheim Foundation
316:Sunday Times Magazine
7966:Street photographers
7701:, November 15, 2018.
7666:Photographic Journal
7083:. September 18, 2016
6747:"Diane Arbus âą MOCA"
6705:. September 22, 2008
6703:Moderna Museet Malmö
6657:. Collection.mam.org
5979:on December 15, 2012
5790:Woodward, Richard B.
5583:Christie's, Lot 23.
5224:(October 25, 2016).
4330:www.dazeddigital.com
4072:Museum of Modern Art
2686:"Arbus Reconsidered"
2372:Museum of Modern Art
2320:Moderna Museet Malmö
2310:Milwaukee Art Museum
2275:J. Paul Getty Museum
2241:George Eastman House
2137:Diane Arbus Untitled
1911:; Neuberger Museum,
1899:, Lawrence, Kansas;
1868:Von der Heydt Museum
1809:Worcester Art Museum
1714:by Sandro Botticelli
883:William Todd Schultz
752:Museum of Modern Art
402:, taught English at
335:Museum of Modern Art
273:people with dwarfism
129: 1941;
7436:Felder, Deborah G.
7128:Yokohama.art.museum
6429:"Sammlung-goetz.de"
6284:. Kunstforumwien.at
6215:. February 16, 2019
5829:Decoteau, Randall.
5491:, January 11, 1991.
5154:The Washington Post
4879:, November 5, 1972.
4768:Zacharek, Stephanie
3823:(January 9, 2004).
3705:. The Village Voice
3703:thevillagevoice.com
3380:New York Daily News
3064:Aperture Foundation
3018:Aperture Foundation
2856:Aperture Foundation
2475:, UK (jointly held)
2463:Sweet Briar College
2424:Pier 24 Photography
2253:Harvard Art Museums
2014:Portland Art Museum
1841:Krannert Art Museum
1730:â A photograph for
1588:Notable photographs
796:Arbus experienced "
754:in the influential
467:Photographic career
421:Arbus attended the
296:marginalized groups
265:carnival performers
95:New York City, U.S.
79:New York City, U.S.
18:Diane Nemerov Arbus
7894:The New York Times
7865:The New York Times
7848:Davies, Christie.
7839:Bissell, Gerhard.
7698:The New York Times
7644:The New York Times
7383:Bunnell, Peter C.
7368:Bunnell, Peter C.
7166:Bosworth, Patricia
7108:The Globe and Mail
6888:. October 28, 2013
6381:Davison Art Center
6262:. Akron Art Museum
6031:on October 7, 2012
5817:The Register-Guard
5798:The New York Times
5750:"Weekend's Best".
5724:, August 31, 1980.
5721:The New York Times
5693:Fraenkel Gallery.
5501:"The Jewish Giant"
5399:"Art Market Watch"
5379:on August 22, 2011
5282:Bissell, Gerhard.
5041:The New York Times
4877:The New York Times
4824:The New York Times
4804:The New York Times
4752:The New York Times
4507:The New York Times
4401:www.guggenheim.org
4220:The New York Times
4186:The New York Times
4040:The New York Times
3910:The New York Times
3863:Szarkowski, John.
3830:The New York Times
3821:Kimmelman, Michael
3786:The New York Times
3632:The New York Times
3556:The Jerusalem Post
3434:The New York Times
3415:The New York Times
3324:Bosworth, Patricia
3227:Bosworth, Patricia
3149:. October 18, 1997
3122:The New York Times
2946:The New York Times
2939:(March 11, 2005).
2937:Kimmelman, Michael
2879:Bosworth, Patricia
2629:The New York Times
2597:The New York Times
2447:, Washington, D.C.
2392:, Washington, D.C.
2223:Davison Art Center
2098:Martin-Gropius-Bau
1989:, Essen, Germany;
1960:Diane Arbus: Women
1946:Jan Kesner Gallery
1800:. Venice Biennale.
1712:The Birth of Venus
1629:
1615:
1603:
1494:Sandra S. Phillips
1277:The New York Times
1229:Stephanie Zacharek
1010:Critical reception
1003:The New York Times
945:Mariclare Costello
777:The New York Times
677:Coretta Scott King
489:Timothy O'Sullivan
406:and was appointed
7746:Library resources
7479:978-1-59711-095-2
7451:Gaze, Delia, ed.
7431:978-1-4051-3483-5
7268:Roegiers, Patrick
7262:978-0-06-223432-2
7225:978-0-15-101233-6
7215:Gibson, Gregory.
7150:. San Francisco:
6957:Spencerart.ku.edu
6055:www.metmuseum.org
5589:www.christies.com
5527:www.christies.com
5417:www.christies.com
5321:www.christies.com
5096:(July 21, 2016).
4996:Harper's Magazine
4847:. "Photography".
4646:www.metmuseum.org
4534:www.cheimread.com
4332:. October 2, 2017
4213:(March 8, 2018).
4179:(March 8, 2018).
4155:978-1-57958-393-4
4095:(July 20, 2010).
3945:Los Angeles Times
3788:, April 29, 1963.
3765:Harper's Magazine
3739:Lacayo, Richard.
3570:The Seattle Times
3497:"Woman's Studies"
3332:. pp. 42â59.
3201:Schjeldahl, Peter
3143:"Woman's studies"
3073:978-1-59711-439-4
3027:978-0-89381-233-1
2827:978-1-135-20543-0
2726:978-0-06-223432-2
2622:(March 8, 2018).
2592:Patricia Bosworth
2517:, Yokohama, Japan
2459:, The Netherlands
2271:, Valencia, Spain
1995:Walker Art Center
1917:Wellesley College
1817:Walker Art Center
1811:, Massachusetts;
1736:Gloria Vanderbilt
1517:978-1-59711-179-9
1502:Elisabeth Sussman
1470:978-1-59711-190-4
1459:978-0-89381-623-0
1421:978-0-89381-233-1
1402:978-1-59711-175-1
1394:978-1-59711-174-4
1280:on Diane Arbus's
1241:Wayne Koestenbaum
1207:Flannery O'Connor
1180:Michael Kimmelman
951:Patricia Bosworth
681:Lee Harvey Oswald
669:Gloria Vanderbilt
548:The Family of Man
412:Alexander Nemerov
288:Michael Kimmelman
201:
200:
186:Alexander Nemerov
16:(Redirected from
8028:
7836:, March 1, 2009.
7797:
7647:, March 8, 2018.
7513:Naef, Weston J.
7353:, Supplement I,
7344:Bissell, Gerhard
7306:Tellgren, Anna.
7276:
7152:Fraenkel Gallery
7130:
7125:
7119:
7118:
7116:
7114:
7099:
7093:
7092:
7090:
7088:
7071:
7065:
7064:
7062:
7060:
7046:
7040:
7039:
7037:
7035:
7025:
7019:
7014:
7008:
6997:
6991:
6980:
6974:
6969:
6963:
6954:
6948:
6947:
6945:
6943:
6929:
6923:
6922:
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6918:
6904:
6898:
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6893:
6878:
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6869:
6867:
6856:
6850:
6849:
6847:
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6828:
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6825:
6823:
6809:
6803:
6802:
6800:
6798:
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6780:
6778:
6776:
6765:
6759:
6758:
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6734:
6732:
6721:
6715:
6714:
6712:
6710:
6695:
6689:
6688:
6686:
6684:
6673:
6667:
6666:
6664:
6662:
6651:
6645:
6634:
6628:
6627:
6625:
6623:
6611:
6605:
6604:
6602:
6600:
6586:
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6577:
6575:
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6558:
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6533:
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6508:
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6491:
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6462:
6461:
6459:
6457:
6446:
6440:
6439:
6437:
6435:
6425:
6419:
6418:
6416:
6414:
6409:, Vassar College
6399:
6393:
6392:
6390:
6388:
6373:
6367:
6366:
6364:
6362:
6348:
6342:
6341:
6339:
6337:
6332:on March 9, 2018
6322:
6316:
6315:
6313:
6311:
6300:
6294:
6293:
6291:
6289:
6278:
6272:
6271:
6269:
6267:
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6247:
6245:
6231:
6225:
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6220:
6205:
6199:
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6196:
6194:
6174:
6168:
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6165:
6163:
6148:
6142:
6141:
6139:
6137:
6122:
6116:
6115:
6113:
6111:
6097:
6091:
6090:
6088:
6086:
6072:
6066:
6065:
6063:
6061:
6047:
6041:
6040:
6038:
6036:
6021:
6015:
6014:
6012:
6010:
6005:on June 25, 2012
6001:. Archived from
5995:
5989:
5988:
5986:
5984:
5969:
5963:
5962:
5960:
5958:
5953:on June 17, 2012
5949:. Archived from
5943:
5937:
5926:Baker, Kenneth.
5924:
5918:
5905:
5899:
5886:
5877:
5870:
5864:
5853:Baker, Kenneth.
5851:
5845:
5827:
5821:
5808:
5802:
5787:
5781:
5774:
5768:
5761:
5755:
5748:
5742:
5731:
5725:
5716:
5710:
5709:
5707:
5705:
5699:Fraenkel Gallery
5690:
5615:
5614:
5608:
5600:
5598:
5596:
5580:
5574:
5570:The New York Sun
5561:Pollock, Lindsay
5558:
5552:
5551:
5545:
5537:
5535:
5533:
5518:
5512:
5498:
5492:
5485:
5476:
5469:
5463:
5462:
5460:
5458:
5448:
5442:
5441:
5435:
5427:
5425:
5423:
5408:
5402:
5395:
5389:
5388:
5386:
5384:
5375:. Archived from
5369:
5363:
5356:
5347:
5346:
5340:
5332:
5330:
5328:
5312:
5306:
5293:, Supplement I,
5280:
5269:
5249:
5243:
5242:
5240:
5238:
5218:
5212:
5202:
5196:
5189:
5180:
5164:
5158:
5142:
5127:
5126:
5114:
5108:
5107:
5103:The Boston Globe
5090:
5084:
5083:
5081:
5079:
5064:
5058:
5051:
5045:
5029:
5020:
5013:
5007:
5006:
5004:
5002:
4987:
4981:
4980:
4978:
4976:
4961:
4955:
4954:
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4940:
4933:
4927:
4926:
4924:
4922:
4902:
4896:
4889:
4880:
4873:
4867:
4866:
4858:
4852:
4842:
4836:
4835:
4833:
4831:
4814:
4808:
4795:
4789:
4765:
4756:
4740:
4734:
4733:
4705:
4696:
4695:
4693:
4691:
4677:
4671:
4664:
4658:
4657:
4655:
4653:
4637:
4631:
4624:
4618:
4603:
4597:
4582:
4576:
4554:
4545:
4544:
4542:
4540:
4525:
4510:
4509:, June 17, 1972.
4503:
4494:
4493:
4491:
4489:
4472:
4466:
4465:
4463:
4461:
4446:
4440:
4439:
4437:
4435:
4419:
4413:
4412:
4410:
4408:
4392:
4386:
4385:
4383:
4381:
4366:
4360:
4356:Evening Standard
4348:
4342:
4341:
4339:
4337:
4322:
4313:
4312:
4310:
4308:
4301:aphotoeditor.com
4293:
4287:
4286:
4266:
4257:
4241:
4232:
4231:
4229:
4227:
4207:
4198:
4197:
4195:
4193:
4173:
4167:
4166:
4164:
4162:
4135:
4129:
4128:
4123:"News Release".
4120:
4114:
4113:
4111:
4109:
4089:
4083:
4082:
4080:
4078:
4069:
4061:
4052:
4051:
4049:
4047:
4033:(July 9, 2007).
4027:
4021:
4020:
4012:
4006:
4005:
4003:
4001:
3981:
3975:
3974:
3972:
3970:
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3837:
3817:
3804:
3803:
3795:
3789:
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3773:
3771:
3756:
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3721:
3715:
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3694:
3688:
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3589:
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3573:
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3493:
3474:
3473:
3471:
3469:
3454:
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3442:
3440:
3425:
3419:
3403:
3392:
3391:
3389:
3387:
3366:
3360:
3359:
3347:
3334:
3333:
3320:
3314:
3307:
3280:
3279:
3277:
3275:
3261:
3255:
3254:
3223:
3214:
3198:
3185:
3184:
3182:
3180:
3165:
3159:
3158:
3156:
3154:
3139:
3133:
3132:
3130:
3128:
3113:
3107:
3089:
3078:
3077:
3055:
3032:
3031:
3015:
3005:
2999:
2998:
2996:
2994:
2982:"Extra Ordinary"
2977:
2958:
2957:
2955:
2953:
2933:
2918:
2900:
2894:
2876:
2870:
2869:
2845:
2832:
2831:
2811:
2805:
2792:
2753:
2752:
2746:
2738:
2715:(June 7, 2016).
2709:
2703:
2702:
2700:
2698:
2678:
2641:
2640:
2638:
2636:
2616:
2601:
2585:
2579:
2565:
2368:, Essen, Germany
2351:, Massachuesetts
2247:Goetz Collection
2180:Akron Art Museum
2034:, San Francisco.
2032:Fraenkel Gallery
1264:in the beginning
1259:The Boston Globe
1163:Peter Schjeldahl
888:
820:told journalist
594:twin-lens reflex
556:Alexey Brodovich
481:Alfred Stieglitz
396:Great Depression
258:
248:
247:
244:
243:
240:
237:
234:
231:
227:
226:
223:
220:
217:
214:
134:
132:
128:
91:
75:
73:
56:
53:
46:
32:
21:
8036:
8035:
8031:
8030:
8029:
8027:
8026:
8025:
7906:
7905:
7897:, May 19, 1989.
7790:
7789:
7788:
7770:
7769:
7754:
7753:
7749:
7742:
7713:"Full Exposure"
7596:
7577:Stepan, Peter.
7325:
7270:
7143:
7138:
7136:Further reading
7133:
7126:
7122:
7112:
7110:
7101:
7100:
7096:
7086:
7084:
7073:
7072:
7068:
7058:
7056:
7048:
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7027:
7026:
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7015:
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6998:
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6891:
6889:
6880:
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6858:
6857:
6853:
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6806:
6796:
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6789:
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6708:
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6658:
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6648:
6635:
6631:
6621:
6619:
6613:
6612:
6608:
6598:
6596:
6588:
6587:
6583:
6573:
6571:
6566:
6565:
6561:
6551:
6549:
6543:"Bed in Mirror"
6541:
6540:
6536:
6526:
6524:
6519:
6518:
6514:
6504:
6502:
6493:
6492:
6488:
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6455:
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6410:
6401:
6400:
6396:
6386:
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6099:
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6084:
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5997:
5996:
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5982:
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5956:
5954:
5945:
5944:
5940:
5925:
5921:
5906:
5902:
5887:
5880:
5871:
5867:
5852:
5848:
5839:Wayback Machine
5828:
5824:
5809:
5805:
5788:
5784:
5778:Creative Review
5775:
5771:
5762:
5758:
5754:, May 29, 1992.
5749:
5745:
5732:
5728:
5717:
5713:
5703:
5701:
5692:
5691:
5618:
5601:
5594:
5592:
5582:
5581:
5577:
5559:
5555:
5538:
5531:
5529:
5520:
5519:
5515:
5509:Wayback Machine
5499:
5495:
5486:
5479:
5470:
5466:
5456:
5454:
5450:
5449:
5445:
5428:
5421:
5419:
5410:
5409:
5405:
5396:
5392:
5382:
5380:
5371:
5370:
5366:
5357:
5350:
5333:
5326:
5324:
5314:
5313:
5309:
5281:
5272:
5266:Wayback Machine
5250:
5246:
5236:
5234:
5220:
5219:
5215:
5203:
5199:
5190:
5183:
5167:Greer, Germaine
5165:
5161:
5143:
5130:
5116:
5115:
5111:
5092:
5091:
5087:
5077:
5075:
5066:
5065:
5061:
5052:
5048:
5030:
5023:
5017:Art New England
5014:
5010:
5000:
4998:
4989:
4988:
4984:
4974:
4972:
4963:
4962:
4958:
4948:
4947:
4943:
4934:
4930:
4920:
4918:
4904:
4903:
4899:
4890:
4883:
4874:
4870:
4860:
4859:
4855:
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4783:Wayback Machine
4766:
4759:
4743:Dargis, Manohla
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3627:Pogrebin, Robin
3625:
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3601:
3592:
3583:
3576:
3567:
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3552:Wayback Machine
3538:
3529:
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3509:
3502:The Independent
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3147:The Independent
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3104:Wayback Machine
3090:
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2525:
2520:
2366:Museum Folkwang
2289:, Kalamazoo, MI
2265:, New York City
2259:, Cambridge, MA
2172:
2152:Hayward Gallery
1987:Museum Folkwang
1903:, Minneapolis;
1864:Van Gogh Museum
1852:Hayward Gallery
1819:, Minneapolis;
1786:
1744:Anderson Cooper
1732:Harper's Bazaar
1689:Stanley Kubrick
1590:
1353:
1209:of photography.
1025:Garry Winogrand
1021:Lee Friedlander
1012:
907:, published by
894:Venice Biennale
886:
854:Stanley Kubrick
830:
818:Joel Meyerowitz
794:
770:John Szarkowski
766:Lee Friedlander
762:Garry Winogrand
716:developmentally
685:photojournalism
673:Anderson Cooper
661:Eugene McCarthy
657:Jayne Mansfield
574:Harper's Bazaar
543:Edward Steichen
477:Berenice Abbott
469:
372:
356:Venice Biennale
349:Garry Winogrand
345:Lee Friedlander
331:John Szarkowski
310:Harper's Bazaar
228:
211:
207:
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168:
136:
133: 1969)
124:
120:
117:
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50:(a film test),
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15:
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5:
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7898:
7885:Smith, Roberta
7882:
7869:
7853:
7846:
7837:
7826:
7821:
7803:
7787:
7786:
7781:
7775:
7773:By Diane Arbus
7771:
7768:
7767:
7762:
7756:
7755:
7744:
7743:
7741:
7740:External links
7738:
7737:
7736:
7729:
7722:
7718:The New Yorker
7709:
7702:
7686:
7676:
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7662:
7655:
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7625:
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7611:
7608:Art in America
7604:
7595:
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7591:
7590:
7575:
7564:Shari Benstock
7556:
7541:
7526:
7511:
7496:
7481:
7467:Gefter, Philip
7464:
7449:
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7396:
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7366:
7363:Online edition
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7094:
7080:The New Yorker
7066:
7041:
7020:
7009:
6992:
6975:
6972:Oldweb.sdc.edu
6964:
6949:
6924:
6899:
6873:
6851:
6829:
6813:"Arbus, Diane"
6804:
6793:. Tampabay.com
6782:
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6690:
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6646:
6629:
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6581:
6559:
6534:
6523:. The Ringling
6512:
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6441:
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6394:
6368:
6343:
6317:
6295:
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6251:
6226:
6200:
6178:Searle, Adrian
6169:
6143:
6125:Lehrer, Adam.
6117:
6092:
6067:
6042:
6016:
5990:
5964:
5938:
5919:
5907:Cooper, Neil.
5900:
5888:Davies, Lucy.
5878:
5865:
5846:
5822:
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5284:"Arbus, Diane"
5270:
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5159:
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5085:
5059:
5046:
5021:
5008:
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4970:The New Yorker
4956:
4941:
4928:
4897:
4881:
4868:
4853:
4837:
4809:
4797:Vogel, Carol.
4790:
4757:
4735:
4716:(4): 422â438.
4697:
4672:
4659:
4632:
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4598:
4577:
4546:
4511:
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4467:
4441:
4414:
4387:
4361:
4343:
4314:
4288:
4277:(6): 128â130.
4258:
4244:Hughes, Robert
4233:
4199:
4168:
4154:
4130:
4115:
4084:
4053:
4031:Gefter, Philip
4022:
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3590:
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3561:
3527:
3507:
3475:
3446:
3420:
3406:Gefter, Philip
3393:
3361:
3335:
3315:
3311:Art in America
3281:
3256:
3241:
3215:
3210:The New Yorker
3186:
3160:
3134:
3108:
3079:
3072:
3033:
3026:
3000:
2959:
2919:
2903:Gaines, Steven
2895:
2871:
2865:978-0912334400
2864:
2833:
2826:
2806:
2754:
2725:
2704:
2642:
2602:
2580:
2526:
2524:
2521:
2519:
2518:
2512:
2506:
2500:
2497:Whitney Museum
2494:
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2325:Moderna Museet
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2298:
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2284:
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2250:
2244:
2238:
2237:, Poughkeepsie
2232:
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2203:
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2176:
2171:
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2155:
2144:
2133:
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2119:
2112:
2105:
2100:, Berlin; and
2086:
2079:
2072:
2057:
2046:
2035:
2024:
2017:
1998:
1997:, Minneapolis.
1963:
1956:
1949:
1948:, Los Angeles.
1938:
1931:
1924:
1889:
1882:
1875:
1844:
1835:, California;
1801:
1794:
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1782:
1758:
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1704:
1698:
1680:
1674:
1668:
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1650:
1589:
1586:
1585:
1584:
1570:
1563:978-1597114394
1552:
1549:978-1588395955
1538:
1535:978-1881337416
1524:
1506:
1475:
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1473:
1462:
1441:
1440:
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1424:
1407:
1406:
1405:
1386:
1375:
1352:
1349:
1348:
1347:
1340:
1330:
1327:Germaine Greer
1323:
1315:
1314:
1301:
1272:
1251:
1238:
1225:
1210:
1200:
1177:
1172:The New Yorker
1160:
1155:found her and
1149:
1145:Francine Prose
1137:
1129:The New Yorker
1117:
1099:
1088:
1085:Judith Goldman
1082:
1075:
1070:On Photography
1062:
1054:
1042:
1033:
1011:
1008:
943:and voiced by
852:, directed by
846:When the film
829:
826:
793:
790:
663:, billionaire
641:Harriet Nelson
468:
465:
461:Richard Avedon
400:Howard Nemerov
371:
368:
325:. In 1963 the
199:
198:
196:
195:
189:
183:
180:Howard Nemerov
176:
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97:
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92:(aged 48)
86:
82:
81:
78:
76:March 14, 1923
65:
63:
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58:
47:
39:
38:
35:
26:
24:
14:
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7996:Russek family
7994:
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7941:1971 suicides
7939:
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7896:
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7886:
7883:
7880:
7879:
7874:
7873:"Diane Arbus"
7870:
7868:May 26, 2016.
7867:
7866:
7861:
7857:
7856:Lubow, Arthur
7854:
7851:
7847:
7844:
7843:
7838:
7835:
7831:
7830:"Diane Arbus"
7827:
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7707:
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7690:
7689:Lubow, Arthur
7687:
7684:
7680:
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7674:
7670:
7667:
7663:
7660:
7656:
7653:
7649:
7646:
7645:
7640:
7636:
7635:Estrin, James
7633:
7630:
7626:
7623:
7622:Art Criticism
7619:
7616:
7612:
7609:
7605:
7602:
7598:
7597:
7593:
7588:
7587:3-7913-2001-7
7584:
7580:
7576:
7573:
7572:0-8135-2032-0
7569:
7565:
7561:
7557:
7554:
7553:0-674-62733-4
7550:
7546:
7542:
7539:
7538:0-8195-5131-7
7535:
7531:
7527:
7524:
7523:0-89236-748-2
7520:
7516:
7512:
7509:
7508:0-262-02288-5
7505:
7501:
7497:
7494:
7493:0-415-91412-4
7490:
7486:
7482:
7480:
7476:
7472:
7468:
7465:
7462:
7461:1-884964-21-4
7458:
7454:
7450:
7447:
7446:0-8065-1726-3
7443:
7439:
7435:
7432:
7428:
7424:
7423:Garry Hagberg
7420:
7416:
7413:
7412:0-914357-74-3
7409:
7405:
7401:
7397:
7394:
7393:1-59711-021-3
7390:
7386:
7382:
7379:
7378:0-521-32751-2
7375:
7371:
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7356:
7352:
7350:
7345:
7342:
7339:
7338:0-670-85434-4
7335:
7331:
7327:
7326:
7323:Book chapters
7322:
7317:
7316:3-86521-143-7
7313:
7309:
7305:
7302:
7301:1-60819-519-8
7298:
7294:
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7287:2-85108-374-0
7284:
7280:
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7266:
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7255:
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7246:Lubow, Arthur
7244:
7241:
7240:0-300-10146-5
7237:
7233:
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7226:
7222:
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7210:0-09-947036-5
7207:
7203:
7202:0-393-32661-6
7199:
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7194:0-393-31207-0
7191:
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7186:0-434-08150-7
7183:
7179:
7178:0-394-50404-6
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7160:1-881337-19-7
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6805:
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6761:
6748:
6742:
6739:
6726:
6720:
6717:
6704:
6700:
6694:
6691:
6678:
6677:"Diane Arbus"
6672:
6669:
6656:
6650:
6647:
6643:
6639:
6633:
6630:
6617:
6614:Diane Arbus.
6610:
6607:
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6563:
6560:
6548:
6544:
6538:
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6522:
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6513:
6500:
6496:
6490:
6487:
6474:
6471:Diane Arbus.
6467:
6464:
6451:
6445:
6442:
6430:
6424:
6421:
6408:
6404:
6398:
6395:
6382:
6378:
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6369:
6357:
6353:
6347:
6344:
6331:
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6321:
6318:
6306:. Artsbma.org
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6147:
6144:
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6128:
6121:
6118:
6106:
6102:
6096:
6093:
6081:
6077:
6076:"diane arbus"
6071:
6068:
6056:
6052:
6046:
6043:
6030:
6026:
6025:"Diane Arbus"
6020:
6017:
6004:
6000:
5994:
5991:
5978:
5974:
5968:
5965:
5952:
5948:
5947:"Diane Arbus"
5942:
5939:
5935:
5934:
5929:
5923:
5920:
5916:
5915:
5910:
5904:
5901:
5897:
5896:
5895:The Telegraph
5891:
5885:
5883:
5879:
5875:
5869:
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5862:
5861:
5856:
5850:
5847:
5843:
5840:
5836:
5832:
5826:
5823:
5819:
5818:
5813:
5810:Keefer, Bob.
5807:
5804:
5800:
5799:
5794:
5791:
5786:
5783:
5779:
5773:
5770:
5766:
5760:
5757:
5753:
5747:
5744:
5740:
5736:
5730:
5727:
5723:
5722:
5715:
5712:
5700:
5696:
5695:"Diane Arbus"
5689:
5687:
5685:
5683:
5681:
5679:
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5303:"Diane Arbus"
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4681:"Diane Arbus"
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4530:"Diane Arbus"
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4177:Estrin, James
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4127:. March 1973.
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2067:, Wales; and
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2055:
2051:
2047:
2044:
2040:
2036:
2033:
2029:
2025:
2022:
2018:
2015:
2011:
2007:
2003:
1999:
1996:
1992:
1988:
1984:
1980:
1976:
1972:
1968:
1964:
1961:
1957:
1954:
1950:
1947:
1943:
1939:
1936:
1932:
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1925:
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1830:
1826:
1822:
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1814:
1810:
1806:
1802:
1799:
1795:
1792:
1791:New Documents
1788:
1787:
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1772:, and one to
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1647:contact sheet
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1639:, N.Y.C. 1962
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1581:9781597115384
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1567:John P. Jacob
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1043:
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1017:New Documents
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799:
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624:sharecroppers
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88:July 26, 1971
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66:Diane Nemerov
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7814:Neil Selkirk
7810:John Gossage
7802:at Wikiquote
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7679:Kozloff, Max
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7252:. New York:
7249:
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7113:November 11,
7111:. Retrieved
7107:
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7087:November 11,
7085:. Retrieved
7078:
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7059:November 11,
7057:. Retrieved
7053:
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7034:November 11,
7032:. Retrieved
7023:
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6995:
6978:
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6942:November 11,
6940:. Retrieved
6937:artfacts.net
6936:
6927:
6917:November 11,
6915:. Retrieved
6911:
6902:
6892:November 11,
6890:. Retrieved
6885:
6876:
6864:. Retrieved
6862:. Gallery.ca
6854:
6842:. Retrieved
6840:. Gallery.ca
6832:
6822:November 11,
6820:. Retrieved
6816:
6807:
6795:. Retrieved
6785:
6773:. Retrieved
6763:
6751:. Retrieved
6741:
6729:. Retrieved
6719:
6707:. Retrieved
6693:
6683:February 17,
6681:. Retrieved
6671:
6659:. Retrieved
6649:
6632:
6620:. Retrieved
6609:
6597:. Retrieved
6593:
6584:
6572:. Retrieved
6562:
6550:. Retrieved
6546:
6537:
6525:. Retrieved
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5422:October 12,
4937:Art Journal
4539:November 7,
4307:November 1,
4017:Photography
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3439:November 6,
3127:November 1,
2952:November 1,
2801:Smithsonian
2697:November 1,
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2487:, Vancouver
2433:Rijksmuseum
2327:, Stockholm
2257:Fogg Museum
2170:Collections
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2107:2016â2017:
2090:Diane Arbus
2088:2011â2013:
2059:2009â2018:
2050:Diane Arbus
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1935:Diane Arbus
1928:Diane Arbus
1891:1984â1987:
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1803:1972â1975:
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1189:nudist camp
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1029:Max Kozloff
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849:The Shining
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497:Bill Brandt
493:Paul Strand
431:Allan Arbus
313:, London's
204:Diane Arbus
115:Allan Arbus
55: 1949
36:Diane Arbus
7910:Categories
7562:edited by
7560:On Fashion
7421:edited by
7254:Ecco Press
6749:. Moca.org
6403:"Facebook"
6035:August 16,
5983:August 16,
5957:August 16,
5739:C Magazine
4849:The Nation
4144:. London:
3242:0393326616
2523:References
2499:, New York
2453:, Lawrence
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2306:, New York
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1309:review of
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602:Mamiyaflex
597:Rolleiflex
101:Occupation
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6701:. Malmö:
6590:"eMuseum"
6570:. Faif.ch
6475:. Icp.org
5383:March 19,
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4830:March 24,
4786:Salon.com
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4226:March 16,
4192:March 16,
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2016:, Oregon.
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524:Seventeen
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6866:March 9,
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6193:March 9,
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5914:The List
5835:Archived
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5262:Archived
4951:Artforum
4779:Archived
4690:July 23,
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4065:"No. 21"
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1366:, 1972.
1364:Aperture
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